PRICE 25 OENTS 



PS 3513 

.R692 

L3 

1921 



mmm 



■WianHMi 



P-, 



="' ' J The Ladies Strike 



Helen-Sherman Griffith 





Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOLKS. A Rural Play in Four Acts, by Arthur 
Lewis Tubbs. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubbs. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. 

THE OLD NEW^ HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
everj'body understands and likes. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
in Three Acts, by Frank Dumont. For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both starting, 
and novel. 

A WHITE MOUNTAIN BOY. A Strong Melodrama In 
Fi^'e Acts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad. twice saves the life of a banker's daughter, which 
results in Hieir betrothal. A scoundrelly clerk has the banker 
in his povv.-r. hut the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



The Ladies Strike 



A Play for Girls in One Act 



By 



HELEN SHERMAN GRIFFITH 

Author of ''Help Wanted'' ''The Burglar Alarm' 
• • The Minister's Wife' ' , "Reflected Glory' ' , etc. 




PHILADELPHIA 

THE PENN PUBLISHING COMPANY 

1921 



P3 35I3 



Copyright 1921 by The Penn Publishing Companv 



©Gl.[) 57132 

The Ladies Strike 



17 1921 



The Ladies Strike 



CAST OF CHARACTERS 

Miss Perry Head of employment office 

Mrs. Washburn With newly acquired wealth 

Mrs! Ha^es } ^« «««' °f ^^^^'^ 

i'^^^^ / Who might take positions if em- 

^^^^ \ ployer satisfied their ambition 

Bridget ; r ^ y 

Mrs. Gordon Who has come to start something 

Have as many employers and maids for action on the 
side as possible. 

Time of Playing : — About twenty-five minutes. 
Costumes : — Modern. 



PROPERTIES 



Flat top desk. Small table. Chairs. Writing 
materials for desk. 



The Ladies Strike 



SCENE. — The interior of an employment office ; exits 
left front and hack right. A hare room with flat 
topped desk hack c, a smaller table at left side. 
Plain deal chairs at desk and table, and a row of 
them down right side. 

(^Curtain rises disclosing Miss Perry at desk, writing. 
Enter Bridget, l., absurdly overdressed. She 
parades self-consciously across room and stops in 
front of desk, clearing her throat to attract atten- 
tion. ) 

Miss P. (looking up and staring). Why, Bridget! 

Bridget (mincing back and forth). And how do ye 
loike it, ma'am ? Ain't Oi swell ? 

Miss P. You surely are, but what's the idea? It 
isn't St. Patrick's Day. What's up, Bridget? 

Bridget. Sure, wages is up. Oi've joined the do- 
mestics' union, drawn all me money from the buildin' 
fund, and now, begorra, Oi can dress loike a lady. 

Miss P. Better than most of the ladies of my 
acquaintance, Bridget. 

Bridget (delighted). Yez don't mane it! Will 
yez listen to thot, now! Ah, it's blarney ye're givin' 
me ! Well, if Oi do sez it nieself , Oi think Oi'm some 
charmer. Ye should 'a' seen Mike Cassidy down at 
the corner as Oi come by. He was so overcome starin' 
afther me, sure he forgot to give a customer his 
change ! (She giggles self-consciously.) 



D THE LADIES STRIKE 

Miss P. (taking up her pen). It surely is a grand 
get-up, Bridget, but nevertheless I shall have to ask 
you to go into the other room. 

Bridget. Whot other room do ye mane ? 

Miss P. {pointing off r. with her pen). Where you 
have always waited till a lady comes to interview you. 

Bridget. Humph ! It's no lady as'll be afther in- 
terviewin' me! It's down in the books of the union 
we're to interview the ladies ! And {with an air) Oi m 
not shure Oi'm in the humor to interview no ladies to- 
day. Oi jist stopped in to pass the toime o' day. 
Oi'm off now to march in the union parade. {Moves 
tozvard door, l.) Oi may be back later, ma'am. If 
anny of my class comes in, just hold 'em for me to see. 
{She starts to go and collides with meek little maid 
{super) entering. Maid makes way for Bridget and 
crosses to Miss P. Bridget looks after her with 
pitying scorn.) Just over from the ould counthry ! 
Oi can just hear her sayin' " yes, ma'am," and " as you 
wish, ma'am," and standin' on her fate ivery toime 
the madam comes in the room. Well, she'll learn ! 

{Exit Bridget, l.) 

(Miss P. meantime talks to maid, aside, then takes 
her off, r. Enter Susie and Norah, l., each dressed 
in the extreme of fashion. They pause middle front 
and glance around room. Norah looks off, l., after 
Bridget.) 

Norah. Did ye pipe the female that just went out, 
Susie? 

Susie {taking out vanity case and powdering her 
nose). Oh, some one looking for a maid, I suppose? 
{In bored voice.) I really didn't notice. 

Norah {tittering). You sure didn't. It was old 
Bridget Flannigan, tiked out like a chicken of sweet 
sixteen. She was some sight, believe me. 

Susie. Huh ! She must 'a' be'n workin' for a 
profiteer. Say, Norah, did ye hear about Katy 
O'Rourke? After she'd engaged in her last place the 
madam told her she couldn't have Thursdays off. 



THE LADIES STRIKE 7 

NoRAH. The nerve of her ! And why not ? 

Susie. She had an engagement herself that day; 
one of them Serbian ReUef committees or such — the 
idear of objectin' to our triflin' rise in wages and then 
turnin' round and sending so much good money outa 
the country ! — and she didn't want the house left empty. 

NoRAH. I hope Katy didn't stand for it? 

Susie. Sure she did not. It's Katie's music lesson 
day. 

NoRAH. Say, Susie, let's take a place for a week. 
I saw a peachy pair of shoes down at Smith's — only 
twenty-two and a half — and I'd like 'em — with a pair 
of silks to match, for the I. W. W. ball. 

Susie. You've said it. I need a few pair of hose 
myself. Let's pick an easy dame. 

{They cross to door, r., and meet Miss P., entering.) 

Miss P. (pleasantly). Good-morning, girls. Have 
you come to get a place, or just to make a social call? 

Susie (carelessly) , Oh, we might try a place — to- 
gether. 

NoRAH. If any one comes in to suit us. 

(Exeunt Norah and Susie, r. Miss P. looks after 
them, sighs, and reseats herself at desk.) 

(Enter Mrs. Gordon ; glances about empty room, and 

advances.) 

Mrs. G. Good-morning, Miss Perry, are there any 
cooks about? 

Miss P. (sighing). Not so you'd notice it, Mrs. 
Gordon. I hope you aren't wanting one for yourself? 

Mrs. G. I am, and a housemaid as well. Hannah 
and Sarah departed because my husband asked for 
breakfast a bit earlier on Sunday, so he could get 
out to golf. They said it gave them no time to visit 
with their friends on the way home from church ! 

(Enter Mrs. Allen and Mrs. Haynes. They and 
Mrs. Gordon exchange greeting.) 

Mrs. H. (to Mrs. G.). You, too, Brutus? Noth- 



8 THE LADIES STRIKE 

ing Is fixed nowadays, not even the heavens. They fall 
daily. 

Mrs. a. {sympathetically) . I did think you settled 
for life, Lucinda. I quite envied you Sarah and 
Hannah. 

Mrs. H. {to Miss P.), Nothing for me, I pre- 
sume — as usual ? 

(Miss P. shakes her head.) 

Mrs. G. "As usual," Meta? .You take it very 
calmly. 

Mrs. H. Oh, it's all in getting used to it. 

Mrs. a. Yes, we might as well be philosophical 
about it. 

Mrs. G. {vigorously). We ought not to submit to 
such conditions. Girls, I've come here this morning 
to start something. I 

{A maid enters, l., pausing on threshold. Mrs. A. and 
Mrs. H. both start toward her.) 

Mrs. H. I saw her first, Alice. 

Mrs. a. {stopping). Very well, but I get next turn. 

(Mrs. H. talks aside to maid.) 

Miss P. {to Mrs. A.). Susie and Norah are in 
again. Would you care to talk to them? 
Mrs. a. Would they care to talk to me ? 
Miss P. I'll see. 

{Exit Miss P., r.) 

Mrs. G. {to Mrs. A.). Alice, take a brace. The 
thing for all of us to do is 

Mrs. a. {interrupting). Meta doesn't satisfy the 
newcomer. It's my turn. 

{She joins Mrs. H. and {super) maid.) 

{Enter Miss P., Susie and Noratt. Susie and 
NoRAii join Mrs. H. and others, and talk aside. 
Miss P. escorts neiv maid off r., the^i reenters im- 
fnediately. Mrs. G. listens to conversation of 



THE LADIES STRIKE 9 

others, zvith occasional side comments to Miss P., 
who goes on with her writing. ) 

Mrs. H. I tell you, Svtsie. You come to me, and 
Norah will go to Mrs. Allen. We live right across the 
street from each other. 

Susie (doubtfully) . Could we have the same day 
out? 

Norah. Oh, sure, we'd have to ! We likes to en- 
joy ourselves in our own set. 

Susie. We alius gets paid overtime if there's com- 
p'ny fer dinner. 

Norah. And I'm particular about the style of me 
aprons. 

Susie. Do ye keep chauffeurs ? 

(Looking from one to other.) 

Mrs. a. We do, but he's married. 

Susie (airily). Oh, that don't cut no ice. We can 
supply our own beaus. Of course you let him take the 
girls joy ridin'? 

Norah. How about a victrola? At my last place 
they alius sent the victrola down to the kitchen fer a 
dance once a week. 

(Mrs. a. and Mrs. H. exchange glances.) 

Mrs. a. (hesitating) . I should have to consult my 
husband about that. 

Norah. Oh, if you're bringin' him into the bar- 
gain, I'm not takin' the place. 

Susie. I should say not ! Two bosses is exceedin' 
the limit. (To Mrs. H.) Are you a widow? 

Mrs. H. (taken aback). Why, no — not exactly — 
but 

Norah (to Susie). Oh, what's the use? 

Susie. Let's go get a feed. 

(They saunter across to desk. During this dialogue 
Miss P. has brought (super) maid to talk to Mrs. G., 
or meet other (super) employers. Miss P. speaks to 
Mrs. a. and Mrs. H., who then zvave to Mrs. G. 
and exeunt, l. Miss P. goes to Norah and Susie, y 



10 THE LADIES STRIKE 

NoRAH (to Miss P.)- We're goin' out fer lunch, 
if anybody should be askin' for us. 

Miss P. Suppose you talk to Mrs. Gordon? She 
is a very kind, considerate lady. Her last servants 
were with her ten years. 

Susie (yazvning). What a bore ! I'd die if I didn't 
see a new face every month. 

NoRAH (eyeing Mrs. G.). She might do, if she'd 
come across with the cash. 

Susie (eyeing Mrs. G.). We'll see about it after 
lunch. Bye, bye. 

NoRAH (a la grand e dame). We won't be long, 
dearie. 

(They walk off l., mincing in their over-narrow skirts.) 

Mrs. G. (to Miss P., holding up her hands). My 
word! 

Miss P. They really aren't such a bad sort, Mrs. 
Gordon. They think it smart to imitate their betters. 

Mrs. G. Their betters? What sort of "betters" 
have given them those notions of cheap rudeness ? 

(Enter Mrs. Washburn. She is richly dressed in 
the extreme of style and walks haughtily, holding 
up lorgnettes.) 

Miss P. (aside to Mrs. G.). This sort, for in- 
stance. 

Mrs. G. Isn't that Mrs. Washburn? 

Miss P. Yes. I understand they are worth bil- 
lions. 

Mrs. G. Made during the war. She used to do her 
own work. 

Miss P. And now she wants a butler, footman, 
cook, kitchen maid, and then some. 

(Miss P. rises and goes to meet Mrs. W.) 

Mrs. W. (surveying her from head to foot through 
her lorgnettes). My good v/oman, ah — ugh — what 
have you this morning in the way of servants? 



THE LADIES STRIKE II 

Miss P. Nobody is in just now. Would you care 
to wait ? {She points to row of chairs at side. ) 

Mrs. W. {surveying chairs disapprovingly). How 
annoying ! I sent my choffer on an errand or I could 
have waited comfortably in the auto — I mean^ the 
motor. Why do you not keep a larger — ah — stock on 
hand? It is a beastly bore, don't you know, to have 
to wait for that kind of a person to come in ; really quite 
impertinent, you know. {Stares about room.) Per- 
haps that is — ah — one over there? {Points to Mrs. G.) 

Miss P. Oh, dear no. That is Mrs. Gordon, leader 
of our best society. 

Mrs. W. {impressed but not convinced). Really? 
Why now, you astonish me, Miss— ah — Miss Peary? 
Names mean so little to me. I can't keep them in my 
head. {Stares at Mrs. G.) Are you siiref Possibly 
some — ah — some vulgar person is passing herself on 
you, Miss — ah — Berry. She is so — so plainly dressed. 

Miss P. I have known Mrs. Gordon for years. 
Our best families think it distinguished to wear their 
old clothes in these H. C. L. days. 

Mrs. W. {preening). Oh, no. Miss — ah — ^Merry. 
Not the best families ! Only the poor ones. Women 
always dress in the latest when they have the money. 
{She rises and moves about self-consciously.) What 
have you in there? {Points off r.) 

Miss P. That is where the maids sit, but there are 
very few there and none your style. 

Mrs. W. Oh, well, I suppose I must wait. {Seats 
herself again, with a shudder of discomfort at hard 
chair.) Just take a look outside now and then, Miss — 
ah — Ferry — and see if my au — motor has returned. 

(Miss P. returns to desk.) 

Mrs. G. Have you a telephone. Miss Perry? 
Miss P. I'll show you. Right through here. 

{She conducts Mrs. G. off r.) 

{Enter Mrs. H. and Mrs. A., l., talking together. 
Mrs. W. accosts them.) 



12 THE LADIES STRIKE 

Mrs. W. {patronizingly). My good women, are 
you looking for — for — ah — what do you wish in the 
way of — ah — employment ? 

Mrs. a. {surprised). A cook, if you are in- 
terested. 

Mrs. H. a housemaid. Can you help us out? 

Mrs. W. {condescendingly) . I am interested and I 
think I can help you out. Which the cook and which 
the hired girl — ah — housemaid? 

Mrs. a. How can you accommodate us both? 
Have you a friend? 

Mrs. W. a friend? Of course I have, my good 
woman ! Many friends ! Did you ever meet a lady 
with money who did not have friends ? 

Mrs. H. Then is the friend a cook or housemaid? 

Mrs. W. Do you mean to insult me ? 

Mrs. a. No, no, of course not. We are only 
anxious to know which you are — and which your 
friend 



Mrs. H. Yes, so we can settle matters. 

Mrs. a. What wages do you ask? 

Mrs. H. And your friend's wages ? 

Mrs. W. {bewildered). You mean, what wages do 
I give. I see. I pay my cook twenty-five dollars a 
week and extras. You (turning to Mrs. A.), you would 
want one day off each week, I presume? And {turn- 
ing to Mrs. H.) I always furnish my housemaids' 
clothes ; I have so much better taste than they. 

(Mrs. H. and Mrs. A. stare at Mrs. W., then at each 
other and burst out laughing. Mrs. W. looks in- 
dignant.) 

Mrs. a. Are we interviewing or being interviewed ? 

Mrs. W. {kindly). You are being engaged, my 
good woman. 

Mrs. H. As mistress or maid? Oh, this is rich ! 

Mrs. W. {indignantly). What do you mean? I 
shall not engage you. I do not put up with impudence. 

Mrs. H. I see. You could not engage to both of 



THE LADIES STRIKE I3 

US, SO you must think you are engaging us. Oh, Alice, 
our husbands will never get over this ! ( They laugh. ) 

Mrs. W. {looking from one to the other). What 
do you mean ? How dare you laugh in my face ? Are 
you daring to make fun of me ? Of me, with two hun- 
dred thousand dollars a year ? 

Mrs. a. Not making fun, my dear — ah — lady; 
only — you see, we mistook you for a cook. 

Mrs. H. Or a housemaid. 

Mrs. a. And you made the same mistake about us. 

Mrs. H. And so we are quits. Alice, this is a good 
joke on us! (They laugh.) 

Mrs. W. {furious). What! You — you — I never 
was so insulted — never ! I'll call the police ; I'll fetch 
my choffer — I — I 

{She exits, l., angrily, colliding with Bridget at door.) 

(Bridget enters slowly; her hat is awry and her gown 

mussed. ) 

Mrs. H. Why, if it isn't our old friend, Bridget 
Flannigan ! 

Mrs. a. What's happened, Bridget? 

Bridget. Oi've just bin afther havin' a few words 
with a lady. 

Mrs. H. {sympathetically). So have we, Bridget. 

{Arranges her hat.) 

Mrs. a. Tell us about it, Bridget. 

Bridget {sadly). Shure, Oi was to march In the 
parade, and Oi was a bit late at the startin' place, owin' 
to not bein' used to these darn things. How can a 
body walk fast in these? {She demonstrates high 
heels and tight skirt.) Oi'm not used to thim yit, an' 
that's a fact. And whin Oi got there, will ye belave 
it, me place was taken ! And by a lady Oi'd cooked in 
the same house with ! She wouldn't give it back and 
the police interfered ! Shure, it's spi'led me day. A 
mere chit of a nursemaid in me place? It's loike rob- 
bin' an angel of his halo fer advertisin' purposes. 



14 THE LADIES STRIKE 

(Miss P. enters, r., while Bridget is speaking.) 

Miss P. Ah, Bridget, I have an excellent position 
for you; all the comforts of home. 

Bridget. Don't say thim words to me, Miss Perry ; 
they're too painful. An iligant position is just what 
was taken from me in the parade, begorrah ! Oi'll be- 
off fer a bite of lunch and maybe Oi'll be fit fer 
home comforts and the benefits o' good society. 

(Bridget goes off u, slowly and sadly.) 

Mrs. a. {to Miss P.). Such a good joke, Miss 
Perry ! 

Mrs. H. Where is Mrs. Gordon? We must tell 
her. 

Mrs. a. Has she gone? Given up in despair? 

Mrs. G. {entering r.). No despair about it. Con- 
ditions are most promising. Let's get down to busi- 
ness, girls. 

Mrs. H. {looking at her watch). The present busi- 
ness for me is luncheon. 

Mrs. a. Me, too. Come with us, Lucinda. You 
must need cheering up. 

Mrs. H. And you can tell us your wonderful news. 

Mrs. G. No, thanks. What I have to say is too se- 
rious to be chattered about over crab ravigot and ice- 
cream. You two hurry through your lunch and come 
back, ril wait for you before starting the rally. 

Mrs. a. a rally? That sounds interesting. 

Mrs. H. Like old times. I feel like a war horse 
when he hears a band. 

Mrs. G. I knew you'd stand by me. Hurry back. 

Mrs. H. If it's a scheme to get a waitress I'll stand 
by anything. 

Mrs. a. Me, too, only don't say it's to be done by 
raising wages. I can't dress as well as my cook now. 

{They nod good-bye to Miss P. and hurry off, l.) 

Mrs. G. {to Miss P.). I've a business proposition 
to make you, Miss Perry. If I offered you the rent of 



THE LADIES STRIKE 1$ 

this building, plus your profit, for two weeks or a 
month, would you take it? 

Miss P. Why, Mrs. Gordon, are you going into this 
business? It's a thankless job. 

Mrs. G. Not this business, exactly. I need an 
office in which to have these things demonstrated. 

{She lays several pamphlets on table.) 

Miss P. (examining pamphlets in turn). Oh, these? 
" Time-Saver Vacuum Cleaner." Is that a good kind? 
I use a Peerless. " First-Rank Clotheswasher," "Easy 
Electric Mangle," " King Dishwasher " — I (Sud- 
denly looks at her watch and jumps to her feet.) Oh, 
I promised to meet a friend during her lunch hour ! 
Mrs. Gordon, would you — might I — would it be asking 
too much to 

Mrs. G. (pleasantly). To mind the office? I should 
enjoy it. What is there to do ? 

Miss P. (taking hat and coat from rack at back). 
Very little. Show the domestics in that room off there 
(points off R.) and the employers 

Mrs. G. (interrupting). The woidd-be employers. 
I've not seen them employ anyone yet. 

Miss P. (laughing and sighing). I hope times and 
customs will change. I'll only be gone a few moments. 
Thank you so much. 

(Miss V. hurries off, L.) 

Mrs. G. {seating herself at desk and taking long list 
of names from her bag). I'm ready now to set off my 
bomb. I'm sure it will work, and what a lark we'll 
have. Eve practically the whole town behind me. 
With Alice's and Meta's help 

(Enter Norah, Susie and two maids (supers), gig- 
gling and chattering. They pause on zvay to door, 
R., near desk, paying no attention to Mrs. G.) 

NoRAH (to Susie). And vvhy ever did Mary leave? 
It's easy to come it over a bride, believe me, and the 
pay was fair to middlin'. 



l6 THE LADIES STRIKE 

Susie (indignantly). The lady had the cheek to fire 
her. 

NoRAH (she and two maids showing indignant aston- 
ishment). The nerve of her! And what for, I'd like 
to know? 

Susie. The madam was sick in bed — sore throat ; 
awful catching ! She rang for Mary to bring her some 
tea. Not gettin' any answer — and natural enough, for 
Mary wasn't riskin' her health — she called down the 
back stairs. Mary explained as how she never went 
into no sick rooms, not bein' hired for a trained nurse, 
and would you believe it, the lady told her she could 
go ! And her sick and not another soul in the house ! 

(Mrs. G., listening, applauds softly.) 

NoRAH. And what did Mary say? Told her she 
couldn't go quick enough, I hope ? 

Susie. Mary was so surprised she couldn't get her 
breath in time to say 't she was leavin' anyhow, so it 
looked as if she'd been fired. And her within her 
rights ! 

NoRAH (sympathetically). Say, ain't that tough 
luck for Mary ! You can't bank on how they'll act. 
We must tell the other girls. 

Susie. You've said it. None of us want to go 
where there's such independence. Can you beat it? 

(They all walk off, R., talking indignantly.) 

Mrs. G. (rising and shaking a finger after them). 
So we are not to have any rights, eh? Wait till you 
hear our declaration of independence 1 Why should 
labor have a monopoly on the strikes ? ^ After all, capi- 
tal is behind labor. We'll see. (She reseats herself 
and studies list. Enter Bridget, some of her glory re- 
stored to order. She glances about room, takes a chair 
and seats herself front c, near desk.) I beg pardon, 
but are you a — a lady or — or a cook ? 

Bridget (turning in chair). And whot's thot to ye? 
Shure Oi can cook fit fer royalty, and don't Oi look 
loike a loidy ? 



THE LADIES STRIKE 17 

Mrs. G. (hastily). Oh, yes — of a sort — there are all 
sorts and conditions of ladies, you know. But are you 
a cook? 

Bridget. Well, whot's to hinder me from bein* 
both, Oi'd loike to know? 

Mrs. G. Oh, nothing, nothing at all, only I should 
like to know if you have come to employ or — or be 
employed. 

Bridget (complacently). Oi moight be wiUin' to 
take a place, if Oi find one as suits me. 

Mrs. G. I understand. Well, the applicants are 
supposed to sit in the other room. Shall I take your 
name and address? 

Bridget. Oh, Miss Perry knows me all right, all 
right. Me name is Bridget Flannigan, if it'll interest 
yez. 

Mrs. G. Well, Bridget, I'm in need of a cook. 
(Sarcastically.) Would you consider me? 

Bridget (seriously). Oi moight. Whot wages do 
ye be payin' ? 

Mrs. G. I always pay what is fair 

Bridget (ifidignantly) . Then don't be afther ex- 
pectin' to get a cook. Why don't ye give whot all the 
ither ladies is payin' ? 

Mrs. G. (suppressing a smile). I do. 

Bridget. Then why didn't ye say so? How many 
in the f am'ly ? 

Mrs. G. Four; my two grown daughters, my hus- 
band and myself. 

Bridget. How ould did ye say the daughters was ? 

Mrs. G. Grown up. 

Bridget. Do ye be havin' much comp'ny? Oi 
loikes me evenin's to meself. 

Mrs. G. We like to have our friends. 

Bridget. Hum. — Late parthies and breakfast in 
bed, Oi'm thinkin'. No young children? That's a 
pity, now. 

Mrs. G. I thought girls objected nowadays to go- 
ing to houses where there are children ? 

Bridget. Oh, that's the housemaids, as has to be 



1 8 THE LADIES STRIKE 

clearin' up afther thim. Oi cnj'y a bit o' fun now and 
thin, whin the nurse brings a hvely child into me 
kitchen fer half an hour. They liven a body. 

Mrs. G. I doubt if I could borrow one for that pur- 
pose. No, Bridget, it is evident my place won't suit 
you 

Bridget. And why not, ma'am? Oi haven't said it 
wouldn't, hov Oi ? Oi won't be expected to wash ? 

Mrs. G. (smiling). Clothes? No, Bridget. 

Bridget (condescendingly) . Well, Oi'll be thinkin' 
it over. 

(Exit Bridget r., airily. Mrs. G. looks after her.) 

Mrs. G. There's no doubt about it, something has 
got to be done. 

(Enter Miss P., l., hurriedly.) 

Miss P. I'm sorry I was detained. Has any one 
been in ? 

Mrs. G. Only a grand lady named Bridget Flanni- 
gan. She interviewed me and has condescended to 
consider my case. 

Miss P. (sighing). I hope she wasn't impertinent? 
Bridget belongs to the old order and should know 
better. (Puts away her hat and gloves.) 

Mrs. G. (moving her papers to small table). She 
has joined the Bolsheviki of servants, but I think the 
housekeepers, like the proverbial worm, are about to 
turn. 

(Enter Mrs. H. and Mrs. A., l.) 

Mrs. a. What is this about Bolshevism and 
worms ? 

Mrs. G. Sit right down here and I'll tell you all 
about it. (The three group themselves around small 
table.) I've heard you all telling your troubles this 
winter — Mary Glasgow's colored washlady telephoned 
her last night that her husband would not let her take 
in washing any more or they would have to pay an 
income tax — so I thought I'd come down to-day to see 
for myself. I move we go on strike. 



THE LADIES STRIKE I9 

Mrs. a. We go on strike ? 

Mrs. H. I don't understand. 

AIrs. G. You will, soon. I want all the house- 
keepers of this town to get together and agree to give 
up servants entirely for a while. 

Mrs. a. But who'd do our work? 

Mrs. G. We, ourselves, with the help of these 
things. {Pointing to pamphlets.) 

Mrs. H. Can it be done? Can we get enough to 
join ? 

Mrs. G. I'm sure of it. I've been out canvassing, 
and most of our friends are enthusiastic. The chief 
difficulty is to convince the fashionable set that it's 
" the latest thing." Then they will flock to our ranks. 
Here comes one now, to begin on. {Enter Mrs. W., 
looking about haughtily. Mrs, A. and Mrs. H. nudge 
each other. Mrs. G. crosses to Mrs. W. and shakes 
hands.) How do you do, Mrs. Washburn? Won't 
you join us? Mrs. Haynes, Mrs. Allen and I are talk- 
ing over the joUiest scheme. {She leads Mrs. W. to 
table, and Mrs. A. and Mrs. H. shake hands with her. 
They all look self-conscious. Mrs. G. holds out pen.) 
We want you to put your name on this list. Alice and 
Meta are just going to sign. You see everybody you 
know has her name down. 

Mrs. W. {trying to decipher list through her lor- 
gnettes). What is it ? A new charity ? Put me down 
for a thousand. 

Mrs. G. It is a sort of declaration of independence 
— a ladies' strike. 

Mrs. W. Oh, if it's a ladies' affair, of course I'll 
join. {Signs.) 

Mrs. a. {signing). Can just a few of us swing 
such a big thing? 

Mrs. G. It is always the first push that starts a 
ball rolling. Other towns and cities will follow our 
lead. 

Mrs. H. {signing). It sounds wonderful, Luclnda, 
but after all, how can we get on without the servants ? 

JMrs. G. Child's play — with the help of these elec- 



20 THE LADIES STRIKE 

trical appliances. I've rented Miss Perry's office for 
a month and shall keep people here to demonstrate them 
every day. 

Mrs. W. (looking at pamphlet and giving an affected 
shudder). I'm awfully afraid of electricity. Thunder- 
storms make me quite nervous. 

Mrs. G. {impatiently). Do it by hand, then. 
Nothing is more wholesome than housework; any 
doctor will tell you that. 

(During this scene employers (supers) gather quietly 
and occupy the seats at side. Norah, Susie and 
Bridget enter. Norah and Susie talk aside, but 
Bridget listens to Mrs. G.) 

Mrs. a. (beginning to be interested). It sounds 
rather fun. We can give lunch parties and afterwards 
our guests will help to clear up. 

Mrs. H. Instead of playing bridge all afternoon. I 
used to make very good cake. 

Mrs. W. But fancy being able to afford servants 
and not hiring them ! 

Mrs. G. Don't you see, there are not enough serv- 
ants to go round, and so if we all go without, no one 
will be deprived. 

Mrs. H. (with enthusiasm). Girls, let's do it! 

Mrs. a. Let's! 

Mrs. W. (simpering), "Girls!" Me! Of course 
I'll join! 

Mrs. a. Lucinda, how soon can we have a meet- 
ing? 

Mrs. G. (looking at her watch). In about fifteen 
minutes. I've arranged for it by telephone. Meta, 
you and Alice talk to those ladies over there, while 
Mrs. Washburn helps me arrange this table. 

(Mrs. a. and Mrs. H. cross to ladies and talk aside.) 

Miss P. (joining Mrs. G. and Mrs. W.). Can I do 
anything to help? I surely will enjoy my vacation, 
Mrs. Gordon. 

(They arrange table, talking aside.) 



THE LADIES STRIKE 21 

Bridget (tapping Mrs. G. on the arm), Oi say, 
ma'am, here Oi am. 

(Mrs. G. goes on talking without appearing to notice 

Bridget. ) 

Mrs. G. The war taught us to be practical, eco- 
nomical and industrious. We shall add to this intelli- 
gence and system, and our work will be done better 
than ever before. It is history repeating itself. '* If 
you want a thing done, do it yourself." 

(She goes on talking, Mrs. W. and Miss P. listening 
interestedly. Mrs. H, and Mrs. A. talk to ladies at 
side who listen with enthusiasm and presently they 
all join Mrs. G. and others. Bridget listens to Mrs. 
G. for a moment, then crosses to Norah and Susie.) 

Bridget. Oi say, what do ye think they're afther 
doin'? 

(Points over her shoulder at Mrs. G. and the rest.) 

Norah. We was wantin' to know. 

(Other maids (supers) come in, r., and gather around 
Norah, Susie and Bridget.) 

Bridget. They're goin' on sthrike ! 

SusiE^ I (^^^^^^^^)- ^^^t? 

Bridget. Oi jist heard the lady Oi intind to cook 
fer sayin* they'll all be afther doin' their own work! 
And they're sendin' Miss Perry off on a foine holiday 
'cause she'll be havin' nothin' to do here. Can yez 
bate it ? 

(Bridget, Norah, Susie and other maids talk aside in- 
dignantly. Mrs. G. mounts on chair and addresses 
ladies. ) 

Mrs. G. We have had to pay increasing wages for 
less work, and give unreasonable privileges without any 
return. Why submit? (Ladies applaud.) We are 
strong, intelligent and willing to work. Those others 



22 THE LADIES STRIKE 

(pointing to Bridget and the rest) are not willing to 
work, so why not do without them ? 

{The ladies applaud and shake hands all round. Mrs. 
W. is among the most enthusiastic. Norah and 
Susie advance threateningly. Mrs. G., with Mrs. 
A. and Mrs. H. on each side, come forward as 
though to meet them, down c.) 

Susie. What do ye mean, turnin' us out o' house 
and home? 

Mrs. G. {quietly). Not turning you out, Susie, but 
making the homes you scorn pleasant and comfortable 
to live in. 

NoRAH. You're takin' the bread out of the mouth 
of the poor workin' girl, that's what you're doin' ! 

Mrs. G. {pleasantly) . No, Norah ; only a bit of the 
jam and cake. Understand, all of you. We represent 
The Ladies' Union ! 

{All the ladies gather around Mrs. G. and wave their 
handkerchiefs. Norah, Susie and maids shake 
their fists angrily.) 

Bridget {in background, speculatively). Begorrah, 
Oi almost belave they're roight ! 

curtain 



Unusually Good Entertamments 

Read One or More of These Before Deciding on 
Your Next Program 

GRADUATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes; 
may be presented in a hall without scenery. The unusual com- 
bination of a real "entertainment," including music, recitations, 
etc., with an interesting love story. The graduation exercises 
include short speeches, recitations, songs, funny interruptions,' 
and a comical speech by a country school trustee. 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight malo 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in- 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quigley Higginbotham, known as "Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
(^scenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con- 
vention. The climax comes when a woman's rights cham- 
pion, captures the convention. There is a great chance to bur- 
lesque modern politics and to work in local gags. Every 
part will make a hit. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain- 
ment in the village church gives plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. 

THE PENN PUBUSHING COMPANY 

PHILADELPHIA 



L-nusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY'S. An En- 
tertainment in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, "Graduation Day at Wood HiU 
School," "Back to the Country Store," etc. The villagers have 
planned a birthday surprise party for Mary Brinkley, recently 
graduated from college. They all join in jolly games, songSi 
conundrums, etc., and Mary becomes engaged, which surprises 
the surprisers. The entertainment is a sure success. 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages two men to run the 
machine. A Jew, a farmer, a fat lady and other humorous 
characters give them all kinds of trouble. This is a regular gat- 
ling-gun stream of rollicking repartee. 

THE CASE OF SMYTHE VS. SMITH. An Original 

Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
any number of good parts. 

THE OLD MAIDS* ASSOCIATION. A Farcical Enter- 
tainment in One Act, by Louise Latham Wilson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty or 
more. Time, forty minutes. The play requires neither scenery 
nor properties, and very little in the way of costumes. Can 
easily be prepared in one or two rehearsals. 

BARGAIN DAY AT BLOOMSTEIN'S. A Farcical 
Entertainment in One Act, by Edward Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-fir^ 
fun from start to finish. 

THE PENN PUBLISHING COMPANY 

PH!JJU>CLPH1A 



Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOR DEVINE. A Farce in Two Acts. 
by Mrs. E. J. H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. 

SISTER MASONS. A Burlesque in One Act, by Frank 
DuMONT. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonrj'. Some women profess to learn the secrets of a 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. 

A COMMANDING POSITION. A Farcical Enter- 
tainment, by Amelia Sanford. For seven female char- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired living with her aunt. Miss 
Skinflint. She decides to "attain a commanding position." 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Fraxk Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern. 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend. 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Coeb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 





LIBRARY OF CONGRESS 

The Power o' 

Expression and efficiency go hi 

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J" he power of clear and lorceiui expicbsM^n umigo y^z...v 

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The power of expression leads to: 

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Successful public speaking 

Effective recitals 

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Are these things worth while? 

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A catalogue giving full information as to how any of thes^" 
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THE NATIONAL SCHOOL OF 
ELOCUTION AND ORATORY , 

1714 De Lancey Street PhiIadeli>hM 



